Loaded with full-color reproductions of work by such legends as R. Crumb, Art Spiegelman, Alison Bechdel, Chris Ware, Daniel Clowes, and Lynda Barry, the book addresses the place of comics in both a contemporary and historical context. Essays by such high-profile figures as Tom Gunning, N. Katherine Hayles, Patrick Jagoda, and W. J. T. Mitchell address a stunning range of topics, including the place of comics in the history of aesthetics, changes to popular art forms, digital humanities, and ongoing tensions between new and old media. The result is a substantial step forward for our understanding of what comics are and can be, and the growing place they hold in our culture.
One of the most highly regarded books of its kind, On Photography first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato's Cave"essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.
This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject.
For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).
Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.
A meteor of a book that enlightens, startles, stimulates and entertains.
"Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times
Photography: The Key Concepts provides an ideal guide to the place of photography in our society and to the extraordinary range of photographic genres. Outlining the history of photography and explaining the body of theory which has built up around its use, the book guides the reader through the genres of documentary, portraiture, landscape, still life, art and global photography. Illustrated with a range of historical and contemporary images and case material, this book is essential reading for anyone interested in photography.
The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.
In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.
Since these stars appear in our livings rooms on family friendly mainstream shows like Good Morning America, Ellen, and dozens of others—and are loved by virtually all the kids—they couldn’t possibly have anything to do with the infamous Illuminati or anything “satanic,” could they? Some famous musicians have even publicly denounced the Illuminati in interviews or songs.
Illuminati in the Music Industry takes a close look at some of today’s hottest stars and decodes the secret symbols, song lyrics, and separates the facts from the fiction in this fascinating topic. You may never see your favorite musicians the same way ever again. Includes 50 photographs.
Discover why so many artists are promoting the Illuminati as the secret to success.
Why an aspiring rapper in Virginia shot his friend as an “Illuminati sacrifice” hoping it would help him become rich and famous.
How and why the founder of BET Black Entertainment Television became the first African American billionaire.
Why popular female pop stars like Rihanna, Christina Aguilera, Kesha and others are promoting Satanism as cool, something that was once only seen in heavy metal and rock and roll bands.
Some musicians like Korn’s singer Jonathan Davis, rapper MC Hammer, Megadeth’s frontman Dave Mustaine, and others have all denounced the Illuminati and artists promoting them.
Les Claypool, singer of Primus wrote a song about the Bohemian Grove.
Muse singer Matt Bellamy recants his belief that 9/11 was an inside job after getting a taste of mainstream success with his album, The Resistance.
Bono said he attended an Illuminati meeting with other celebrities. Was he joking or serious?
Why rap and hip hop is filled with Illuminati puppets and wannabes more than other genres of music.
Includes detailed profiles on dozens of artists who are suspected of being affiliated with the Illuminati and highlights the handful of musicians who have denounced the secret society and their puppets.
Learn about media effects, the power of celebrity, what the externalization of the hierarchy means and how you can break free from the mental enslavement of mainstream media and music.
By the author of The Illuminati: Facts & Fiction
With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.
Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.
In his thorough introduction of more than a hundred pages, Michael Howard takes readers through these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index
Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.
Highly readable and featuring instructive illustrations, this book is meant to engage church leaders as well as artists in constructive conversation about the critical role that art can play in the renewal of Christian education, worship, and study. It also challenges anyone who thinks the arts are only of marginal importance to the religious life. Robin Jensen considers here a broad range of topics relevant to Christian faith and culture, including the construction of sacred space, the use of art in worship and spiritual formation, the way that visual art interprets sacred texts, and the power and danger of art from a historical and contemporary perspective.
For a long time nothing, and then suddenly one has the right eyes.
Virtually every day in the fall of 1907, Rainer Maria Rilke returned to a Paris gallery to view a Cezanne exhibition. Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.
Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cezanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cezanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cezanne is a collection of meaningfully private responses to a radically new art.
The volume will include an introduction and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on religion and art including Boris Groys, James Elkins, Thierry de Duve, David Morgan, Norman Girardot, Sally Promey, Brent Plate, and Christopher Pinney.
This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.
Ai Weiwei - artist, architect, curator, publisher, poet and urbanist - extended the notion of art and is one of the world's most significant creative and cultural figures. In this series of interviews, conducted over several years with the curator Hans Ulrich Obrist, he discusses the many dimensions of his artistic life, ranging over subjects including ceramics, blogging, nature, philosophy and the myriad influences that have fed into his work. He also talks candidly about his father, his childhood spent in exile and his criticism of the Chinese state.
Together, these extraordinary discussions give a unique insight into the outstanding complexity of Ai Weiwei's thought and work, and are an essential reminder of the need for personal, political and artistic freedom.
A unique anthology of 35 feminist art manifestos by contemporary women artists from around the world (1969-2013) introduced by Katy Deepwell. These feminist art manifestos written at different moments over the last forty years explore the potential of women's cultural production as visual artists. Manifestos occupy a specific place in the visual arts, as a means to communicate radical ideas. These texts outline a critique of patriarchy and utopian hopes for the future.
CONTENT: KATY DEEPWELL – NEGOTIATIONS (an introduction); MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A WOMAN (1979); WOMEN ARTISTS OF PAKISTAN MANIFESTO (1983); CHILA BURMAN - THERE HAVE ALWAYS BEEN GREAT BLACKWOMEN ARTISTS (1986); EVA AND CO - THE MANIFESTO (1992); VNS MATRIX - BITCH MUTANT MANIFESTO (1994); VIOLETTA LIAGATCHEV - CONSTITUTION INTEMPESTIVE DE LA RÉPUBLIQUE INTERNATIONALE DES ARTISTES FEMMES (1995); OLD BOYS NETWORK - 100 ANTI-THESES (1997); LILY BEA MOOR (aka SENGA NENGUDI) - LILIES OF THE VALLEY UNITE! OR NOT (1998); DORA GARCIA - 100 IMPOSSIBLE ARTWORKS (2001); SUBROSA - REFUGIA: MANIFESTO FOR BECOMING AUTONOMOUS ZONES (BAZ)(2002); ORLAN - CARNAL ART MANIFESTO (2002); RHANI LEE REMEDES - THE SCUB MANIFESTO (2002); FACTORY OF FOUND CLOTHES - MANIFESTO (2002); FEMINIST ART ACTION BRIGADE - MANIFESTO (2003); METTE INGVARTSEN - YES MANIFESTO (2004); XABIER ARAKISTAIN - ARCO MANIFESTO (2005); YES! ASSOCIATION/FÖRENINGEN JA! - JÄMLIKHETSAVTAL #1(THE EQUAL OPPORTUNITIES AGREEMENT #1) (2005); ARAHMAIANI - LETTER TO MARINETTI and MANIFESTO OF THE SCEPTICS (2009); GUERRILLA GIRLS - GUIDE TO BEHAVING BADLY (2010); JULIE PERINI - RELATIONAL FILMMAKING MANIFESTO (2010); ELIZABETH M. STEPHENS AND ANNIE M. SPRINKLE - ECOSEX MANIFESTO (2011); LUCIA TKACOVA and ANETTA MONA CHISA - 80:20; SILVIA ZIRANEK - MANIFESTA (2013); MARTINE SYMS - MUNDANE AFROFUTURIST MANIFESTO (2013)
Aiming to wound, a schoolmaster wrote on future design-guru Stephen Bayley’s last ever school report “Charm alone will not get him through”. Bayley took this to mean that an affable, genial, outgoing nature was not enough to ensure survival in a harsh world of statistical performance. But survive and flourish is exactly what Bayley did and now he aims to define Charm by looking at its origins and meanings throughout history and in the modern age.
Berger’s insights make it impossible to look at a painting, watch a film, or even visit a zoo in quite the same way again. The vast range of subjects he addresses, the lean beauty of his prose, and the keenness of his anger against injustice move us to view the world with a new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s Guernica, the parallel violence and alienation in the art of Francis Bacon and Walt Disney, or the enigmatic silence of his own mother, what binds these pieces throughout is the depth and fury of Berger’s passion, challenging us to participate, to protest, and above all, to see.
Before Francois Truffaut was a great director, he was a critic who stood at the vanguard, pioneering an innovative way to view movies and to write about the cinematic arts.
Now, for the first time in eBook, the legendary director shares his own words, as one of the most influential filmmakers of all time examines the art of movie-making through engaging and deeply personal reviews about the movies he loves.
Truffaut writes extensively about his heroes, from Hitchcock to Welles, Chaplin to Renoir, Bunuel to Bergman, Clouzot to Cocteau, Capra to Hawks, Guitry to Fellini, sharing analysis and insight as to what made them film legends, and how their work led Truffaut and his fellow directors into classics like THE 400 BLOWS, JULES AND JIM, and the French New Wave Movement.
Articulate and candid, THE FILMS IN MY LIFE is for everyone who has sat in a dark movie theater and dreamed.
"Truffaut brings the same intelligence and grace to the printed page that he projects onto the screen. THE FILMS IN MY LIFE provides a rare knowledgeable look at movies and moviemaking." —NEWSDAY
Although there is a vast specialized literature on the Nuremberg master, The Essential Dürer fills the need for a foundational book that covers the major aspects of his career. The essays included in this book, written by leading scholars from the United States and Germany, provide an accessible, up-to-date examination of Dürer's art and person as well as his posthumous fame. The essays address an array of topics, from separate and detailed studies of his paintings, drawings, printmaking, and sculpture, to broader concerns such as his visits to and interactions with Venice and the Netherlands, his personal relationships, and his relationships with other artists. Collectively these stimulating essays explore the brilliance of Dürer's creativity and the impact he had on his world, exposing him as an artist fully engaged with the tumultuous intellectual and religious challenges of his time.
"Honest and moving...Her painful tale is engrossing."
WASHINGTON POST BOOK WORLD
From the Paperback edition.
"It's unlikely that Trump has ever read Amusing Ourselves to Death, but his ascent would not have surprised Postman.” -CNN
Originally published in 1985, Neil Postman’s groundbreaking polemic about the corrosive effects of television on our politics and public discourse has been hailed as a twenty-first-century book published in the twentieth century. Now, with television joined by more sophisticated electronic media—from the Internet to cell phones to DVDs—it has taken on even greater significance. Amusing Ourselves to Death is a prophetic look at what happens when politics, journalism, education, and even religion become subject to the demands of entertainment. It is also a blueprint for regaining control of our media, so that they can serve our highest goals.
“A brilliant, powerful, and important book. This is an indictment that Postman has laid down and, so far as I can see, an irrefutable one.” –Jonathan Yardley, The Washington Post Book World
Half a dozen years ago, anthropologist Gabriella Coleman set out to study the rise of this global phenomenon just as some of its members were turning to political protest and dangerous disruption (before Anonymous shot to fame as a key player in the battles over WikiLeaks, the Arab Spring, and Occupy Wall Street). She ended up becoming so closely connected to Anonymous that the tricky story of her inside–outside status as Anon confidante, interpreter, and erstwhile mouthpiece forms one of the themes of this witty and entirely engrossing book.
The narrative brims with details unearthed from within a notoriously mysterious subculture, whose semi-legendary tricksters—such as Topiary, tflow, Anachaos, and Sabu—emerge as complex, diverse, politically and culturally sophisticated people. Propelled by years of chats and encounters with a multitude of hackers, including imprisoned activist Jeremy Hammond and the double agent who helped put him away, Hector Monsegur, Hacker, Hoaxer, Whistleblower, Spy is filled with insights into the meaning of digital activism and little understood facets of culture in the Internet age, including the history of “trolling,” the ethics and metaphysics of hacking, and the origins and manifold meanings of “the lulz.”
From the Hardcover edition.
Weaving personal experiences through meticulous research, the author ranges widely over aspects of television that have rarely been examined and never before joined together, allowing an entirely new, frightening image to emerge. The idea that all technologies are "neutral," benign instruments that can be used well or badly, is thrown open to profound doubt. Speaking of TV reform is, in the words of the author, "as absurd as speaking of the reform of a technology such as guns."
When Rupert Murdoch enlisted Roger Ailes to launch a cable news network in 1996, American politics and media changed forever. With a remarkable level of detail and insight, New York magazine reporter Gabriel Sherman brings Ailes’s unique genius to life, along with the outsize personalities—Bill O’Reilly, Sean Hannity, Megyn Kelly, Sarah Palin, Karl Rove, Glenn Beck, Mike Huckabee, and others—who have helped Fox News play a defining role in the great social and political controversies of the past two decades. From the Clinton-Lewinsky scandal to the Bush-Gore recount, from the war in Iraq to the Tea Party attack on the Obama presidency, Roger Ailes has developed an unrivaled power to sway the national agenda. Even more, he has become the indispensable figure in conservative America and the man any Republican politician with presidential aspirations must court.
How did this man, whose life story has until now been shrouded in myth, become the master strategist of our political landscape? In revelatory detail, Sherman chronicles the rise of Ailes, a sickly kid from an Ohio factory town who, through sheer willpower, the flair of a showman, fierce corporate politicking, and a profound understanding of the priorities of middle America, built the most influential television news empire of our time.
Drawing on hundreds of interviews with Fox News insiders past and present, Sherman documents Ailes’s tactical acuity as he battles the press, business rivals, and countless real and perceived enemies inside and outside Fox. Sherman takes us inside the morning meetings in which Ailes and other high-level executives strategize Fox’s presentation of the news to advance Ailes’s political agenda; provides behind-the-scenes details of Ailes’s crucial role as finder and shaper of talent, including his sometimes rocky relationships with Fox News stars such as O’Reilly and Hannity; and probes Ailes’s fraught partnership with his equally brash and mercurial boss, Rupert Murdoch.
Roger Ailes’s life is a story worthy of Citizen Kane. Featuring a new afterword about Ailes's epic downfall during the extraordinary 2016 election, The Loudest Voice in the Room is an extraordinary feat of reportage with a compelling human drama at its heart.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR
“[An] actually fair and balanced, carefully documented biography.”—Jacob Weisberg, The New York Times Book Review
“The book excels at compiling data establishing Ailes’s control freakishness and authoritarian nature. . . . A veteran of the New York media-reporting scene, Sherman nails the Fox News palace intrigue and brings to light interactions that Ailes clearly never wanted to go public.”—Erik Wemple, The Washington Post
“[An] enormously entertaining new biography.”—The New Republic
“A thoroughly reported look behind that curtain . . . Part of the reason [Ailes] and his allies have campaigned against the book is not because it is false, but because it tells a true story.”—David Carr, The New York Times
“Sherman is at his best writing with sweep about the history of cable news and placing Ailes in context.”—Los Angeles Times
Winner of the 2007 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award
2007 Choice Outstanding Academic Title
Convergence Culture maps a new territory: where old and new media intersect, where grassroots and corporate media collide, where the power of the media producer and the power of the consumer interact in unpredictable ways.
Henry Jenkins, one of America’s most respected media analysts, delves beneath the new media hype to uncover the important cultural transformations that are taking place as media converge. He takes us into the secret world of Survivor Spoilers, where avid internet users pool their knowledge to unearth the show’s secrets before they are revealed on the air. He introduces us to young Harry Potter fans who are writing their own Hogwarts tales while executives at Warner Brothers struggle for control of their franchise. He shows us how The Matrix has pushed transmedia storytelling to new levels, creating a fictional world where consumers track down bits of the story across multiple media channels.Jenkins argues that struggles over convergence will redefine the face of American popular culture. Industry leaders see opportunities to direct content across many channels to increase revenue and broaden markets. At the same time, consumers envision a liberated public sphere, free of network controls, in a decentralized media environment. Sometimes corporate and grassroots efforts reinforce each other, creating closer, more rewarding relations between media producers and consumers. Sometimes these two forces are at war.
Jenkins provides a riveting introduction to the world where every story gets told and every brand gets sold across multiple media platforms. He explains the cultural shift that is occurring as consumers fight for control across disparate channels, changing the way we do business, elect our leaders, and educate our children.
She is a fascinating and unique collection of interconnected poems by this multi-talented star -- and marks the beginning of an incredible and totally original artistic career.
The Internet has been hailed as an unprecedented democratizing force, a place where everyone can be heard and all can participate equally. But how true is this claim? In a seminal dismantling of techno-utopian visions, The People's Platform argues that for all that we "tweet" and "like" and "share," the Internet in fact reflects and amplifies real-world inequities at least as much as it ameliorates them. Online, just as off-line, attention and influence largely accrue to those who already have plenty of both.
What we have seen so far, Astra Taylor says, has been not a revolution but a rearrangement. Although Silicon Valley tycoons have eclipsed Hollywood moguls, a handful of giants like Amazon, Apple, Google, and Facebook remain the gatekeepers. And the worst habits of the old media model—the pressure to seek easy celebrity, to be quick and sensational above all—have proliferated on the web, where "aggregating" the work of others is the surest way to attract eyeballs and ad revenue. When culture is "free," creative work has diminishing value and advertising fuels the system. The new order looks suspiciously like the old one.
We can do better, Taylor insists. The online world does offer a unique opportunity, but a democratic culture that supports diverse voices and work of lasting value will not spring up from technology alone. If we want the Internet to truly be a people's platform, we will have to make it so.
In Black Code, Ronald J. Deibert, a leading expert on digital technology, security, and human rights, lifts the lid on cyberspace and shows what’s at stake for Internet users and citizens. As cyberspace develops in unprecedented ways, powerful agents are scrambling for control. Predatory cyber criminal gangs such as Koobface have made social media their stalking ground. The discovery of Stuxnet, a computer worm reportedly developed by Israel and the United States and aimed at Iran’s nuclear facilities, showed that state cyberwar is now a very real possibility. Governments and corporations are in collusion and are setting the rules of the road behind closed doors.
This is not the way it was supposed to be. The Internet’s original promise of a global commons of shared knowledge and communications is now under threat.
Drawing on the first-hand experiences of one of the most important protagonists in the battle — the Citizen Lab and its global network of frontline researchers, who have spent more than a decade cracking cyber espionage rings and uncovering attacks on citizens and NGOs worldwide — Black Code takes readers on a fascinating journey into the battle for cyberspace. Thought-provoking, compelling, and sometimes frightening, it is a wakeup call to citizens who have come to take the Internet for granted. Cyberspace is ours, it is what we make of it, Deibert argues, and we need to act now before it slips through our grasp.
In The Revolution Was Televised, celebrated TV critic Alan Sepinwall chronicles the remarkable transformation of the small screen over the past fifteen years. Focusing on twelve innovative television dramas that changed the medium and the culture at large forever, including The Sopranos, Oz, The Wire, Deadwood, The Shield, Lost, Buffy the Vampire Slayer, 24, Battlestar Galactica, Friday Night Lights, Mad Men, and Breaking Bad, Sepinwall weaves his trademark incisive criticism with highly entertaining reporting about the real-life characters and conflicts behind the scenes.
Drawing on interviews with writers David Chase, David Simon, David Milch, Joel Surnow and Howard Gordon, Damon Lindelof and Carlton Cuse, and Vince Gilligan, among others, along with the network executives responsible for green-lighting these groundbreaking shows, The Revolution Was Televised is the story of a new golden age in TV, one that’s as rich with drama and thrills as the very shows themselves.
"When was the last time you felt this comfortable in a relationship?"
-- An ad for sneakers
"You can love it without getting your heart broken."
-- An ad for a car
"Until I find a real man, I'll settle for a real smoke."
-- A woman in a cigarette ad
Many advertisements these days make us feel as if we have an intimate, even passionate relationship with a product. But as Jean Kilbourne points out in this fascinating and shocking exposé, the dreamlike promise of advertising always leaves us hungry for more. We can never be satisfied, because the products we love cannot love us back.
Drawing upon her knowledge of psychology, media, and women's issues, Kilbourne offers nothing less than a new understanding of a ubiquitous phenomenon in our culture. The average American is exposed to over 3,000 advertisements a day and watches three years' worth of television ads over the course of a lifetime. Kilbourne paints a gripping portrait of how this barrage of advertising drastically affects young people, especially girls, by offering false promises of rebellion, connection, and control. She also offers a surprising analysis of the way advertising creates and then feeds an addictive mentality that often continues throughout adulthood.
Jennifer Saunders' comic creations have brought joy to millions. From Comic Strip to Comic Relief, from Bolly-swilling Edina in Ab Fab to her takes on Madonna or Mamma Mia, her characters are household names.
But it's Jennifer herself who has a place in all our hearts. This is her funny, moving and frankly bonkers memoir, filled with laughter, friends and occasional heartache - but never misery.
BONKERS is full of riotous adventures: accidentally enrolling on a teacher training course with a young Dawn French, bluffing her way to each BBC series, shooting Lulu, trading wild faxes with Joanna Lumley, touring India with Ruby Wax and Goldie Hawn.
There's cancer, too, when she becomes 'Brave Jen'. But her biggest battle is with the bane of her life: the Laws of Procrastination. As she admits, 'There has never been a Plan. Everything has been fairly random, happened by accident or just fallen into place. I'm off now, to do some sweeping...'
Prepare to chuckle, whoop, and go BONKERS.
Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated social performance rather than the expression of a prior reality.
Thrilling and provocative, few other academic works have roused passions to the same extent.
Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured -or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock?
In her first full-scale investigation of the role of imagery in our culture since her now-classic book On Photography defined the terms of the debate twenty-five years ago, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001.
As John Berger wrote when On Photography was first published, "All future discussions or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book." Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will be equally essential. It will forever alter our thinking about the uses and meanings of images in our world.
With enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time Out
This book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times